Idelle Weber’s works from the 1960s offer a prescient examination of visibility and the dynamics of looking within an emerging consumer society. Her silhouetted figures capture both the energy and alienation of post-war urban life. In works such as Flower Girl (1960) and Falling Figures (1966), bodies are reduced to graphic forms – stylish and sexual, but also exposed and hovering between motion and collapse. Falling Figures (1966) shows bodies tumbling down the composition over a flesh-pink flat paper ground. Are they athletes performing, or bodies subject to the volatile forces of the era, falling under its weight?